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Search Result for Genre SOUNDTRACK
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SVVRCH 064CV-LP
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$22.50
PREORDER
RELEASE DATE: 2/21/2025
Another side of Serge Gainsbourg permeates this 1963 film soundtrack about "a stripper lost in the nocturnal world" of Paris, according to director Jacques Poitrenaud, who cast Nico in the lead role (after her appearance in La Dolce Vita and just prior to the single she cut with Jimmy Page for Andrew Loog Oldham). Created by Gainsbourg with arranger and longstanding collaborator Alain Gourager, the music is fittingly the cool jazz of dingy nightclubs and seedy bordellos, with Gainsbourg on piano, and there's the sultry title track, delivered breathlessly by Juliette Greco. Another lost gem for all serious Gainsbourg fans.
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WRWTFWW 091LP
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$29.50
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RELEASE DATE: 2/21/2025
WRWTFWW Records presents the first ever release of the highly-sought after original soundtrack from 1987 cult horror movie Dolls by multi-instrumentalist, composer, producer, music man extraordinaire Fuzzbee Morse. The limited-edition LP is a miracle of lost-then-found VHS era film scores and is housed in a heavyweight 350gsm sleeve with a bloody cutout sticker and exclusive composer notes. Directed by Stuart Gordon (Re-Animator, From Beyond, Robot Jox) and released by Charles Band's infamous Empire Pictures (which later morphed into Full Moon Productions), Dolls is '80s campy VHS horror in all its glory, a fan-favorite with all the attributes needed for a frightening popcorn night, including one hell of a soundtrack with a very welcomed heavy dose of menacing synths, thunderous orchestrations, and quirky interludes. The haunting score comes from master Fuzzbee Morse who composed it in Richard Band's garage with a Yamaha QX-1 sequencer, an arsenal of vintage synthesizers, and a wide array of instruments. The result is a must-have (and never released before) soundtrack that blends horror tropes with influences ranging from Igor Stravinsky's The Rite of Spring to Bernard Herrmann, Frank Zappa, Beethoven, Charles Ives, and Eleanor Rigby.
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ELE 038LP
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$30.50
PREORDER
RELEASE DATE: 1/31/2025
The award-winning film Vengeance Is Mine, All Others Pay Cash (2021) is romantic drama set in a working-class neighborhood of Indonesia's West Java. Although the story was set in the 1980s, the film's music director Dave Lumenta didn't want to use music from that period. He didn't want to automatically go with dangdut, the musical genre, a mix of Malay, Indian and modern pop music, the music of choice for majority Indonesia's working class. He simply didn't want the film to be stuck in the time setting and the social class. The film's scoring is richer, inspired not only by dangdut, but also by rock. In order for his imagination to be free of that time and social context, he decided to make music that was based on the film's characters. Lumenta was interested in vulnerability, because it's something the audience finds in the main character Ajo Kawir, an impotent who is unable to have an erection. Iteung, on the other hand, is someone who is very liberal in terms of her sexuality, but she also struggles with a traumatic past. The film successfully portrays the clash of these two characters. And from identifying these two characters, the composer creates a melody or leitmotif that represents each character. The use of analogue instruments is consistent with the film's spirit, which is shot using analogue camera. Lumenta created the music using acoustic instruments, such as the recorder, along with other sounds from an analogue synthesizer. The sound produced may not be perfect, similar to the grainy quality of an analogue film. But it is precisely due to that imperfection that the eyes and ears are compelled to watch and listen actively; listeners must squint to catch something more perfect, or listen closely to filter out imperfections in the sound. Consuming art created with analogue tools requires a different method of listening, watching, and working process.
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5CD
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SPDM 021CD
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$40.00
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RELEASE DATE: 1/24/2025
Five OSTs from Francesco De Masi, Luis Bacalov, Piero Umiliani, and Stelvio Cipriani. Per Un Pugno Nell'occhio: De Masi composed and conducted an orchestral comment alternating between dramatic and comical passages enriched with delicious Morriconian citations typical for the cult Leone movies. The record opens with gun shoots (reprising the opening credits style characteristic for some Leone westerns) that introduce "Titoli", a funny theme with the great harmonica sound of Franco De Gemini accompanied by Jewish's harp, bell tolls, organ, harpsichord and fast vibe passages. A masterpiece from the Silver Age of the Italian Film Music, luckily rescued. 2 Samurai Per 100 Geishe: This unprecedented OST was written by Nico Fidenco and Luis Bacalov. Despite the humor in the film, the OST is very orchestral and dramatic as it develops, with a recurring oriental feel. The authors put together a mystical holy melody which is contrasted with many battle motifs. Digitmovies used the mono master tapes from the original recording session. I Due Sanculotti: The soundtrack of the film was entrusted to Maestro Umiliani, (1956-1984) a prolific author of soundtracks who was active from 1958 to 1984. He made his debut as a musical composer for film, in 1958 thanks to Mario Monicelli, who called him to compose the musical score for the movie I soliti ignoti. Given the success of the film, in the following years Umiliani was called by the great and good of Italian cinema. From comedies starring Totò or Franco and Ciccio to espionage, from westerns to thrillers, from documentaries to drama all the way up to horror. I Due Parà: Maestro Umiliani composed a funny circus theme for "Head credits" alternating with the music of the atmosphere with an Arab flavor, to western-style Deguello music, Waltz, Mexican Mariachi, American march, a wild South American dance music for trumpet, and suspense. I Due Della Formula 1 Alla Corsa Piu' Pazza, Pazza Del Mondo: Stelvio Cipriani composed a brilliant OST with an amusing recurring main score with a touch of beat style. The author recalls the score in different versions and alternates it with a love theme in Bossa tempo, and with adventure-style music with harp interventions for the gang of bandits who try to make life difficult for Franco and Ciccio.
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5CD
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SPDM 024CD
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$66.00
PREORDER
RELEASE DATE: 1/24/2025
Five OSTs from Luciano Michelini, Franco Micalizzi, and Manuel De Sica.La Polizia Accusa: Il Servizio Segreto Uccide: Luciano Michelini created symphonic background music that alternates romanticism with drama and mystery. This CD opens with the theme of the opening credits, a dark motif produced by strings, percussion and piano which is reprised later in the film. Da Corleone A Brooklyn: Franco Micalizzi composed and conducted an OST which contains all the elements of a genre that still has a large audience of loyal enthusiasts, even after decades. The nostalgic main theme is performed by an orchestra with wind and rhythms typical of this genre. Maestro Micalizzi wrote a second recurring theme, a motif with a pop flavor that we hear in a version sung by a male voice with an orchestral accompaniment and guitar accompaniment which is reprised in several fast and slow orchestral versions. For this CD, the stereo master tapes of the original recording session were used. Genova A Mano Armata: Franco Micalizzi wrote one of his best OSTs for the Poliziesco genre with this one. The OST opens with the strong main score written for woodwinds and percussion, which is then reprised with different arrangements throughout the film. It is also alternated with moments of suspense. For this CD, the master tapes of the recording session were used. La Banda Del Gobbo: Franco Micalizzi composed and conducted one of his most iconic OSTs for the crime drama genre with this soundtrack. Within the soundtrack emerges a recurring main theme, using a Moog synthesizer, that is then developed by an energetic woodwind section. It is then reprised in slow and fast versions. Camorra: Manuel De Sica wrote an orchestral comment based on a recurring symphonic tarantella, which is the main theme retaken in symphonic version or with a solo guitar, alternated with lounge tracks like "Rough", sung by De Sica himself, who was 23 years old. RCA printed a promo LP, put together by De Sica, 30:30 minutes long. In 1994 the same material was printed on CD, paired with "The Garden of the Finzi-Continis" Digitmovies were able to have access to the original session mono masters, which brought the label to discover some unpublished material.
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5CD
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SPDM 023CD
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$40.00
PREORDER
RELEASE DATE: 1/24/2025
Five OSTs from Renzo Rossellini, Piero Umiliani, Carlo Savina, Gianni Ferrio, and Riz Ortolani. Il Segno Di Venere: The mono master tapes of the original recording session have survived in excellent condition. Digitmovies has used every note recorded to assemble the entire OST. The main score is cheerful, but also vaguely contemporary in orchestration. The music reflects a Roman setting and the relationships between the characters involving love, jealousy and loneliness. Il Vigile: At that time, RCA had issued an extended-play in mono with four selections. For this CD Digitmovies was able to access the original recording session in mono which allowed the label to create a CD containing the complete OST as well as material from the extremely rare LP. Maestro Umiliani composed a very pleasing OST which, in its various musical nuances, perfectly embodies the comic vein of the great Alberto Sordi. Il Moralista: Only a 45rpm EP was recorded for this film, with the main score written by Franco Migliacci and Carlo Savina and performed by Fred Buscaglione. Nothing had been previously released from the instrumental OST, but thanks to the mono master tapes it was possible to release all of Savina's background music. This CD contains the song from the opening credits, and a single with a different intro. Travolto Dagli Affetti Familiari/Il Vizio Di Famiglia: Gianni Ferrio is without a doubt one of the biggest names in film music. He used his immense talent to create music for Gialli films, Westerns and erotic comedies and also left an unforgettable mark in Italian television and pop music. For this film, Gianni Ferrio composed an enjoyable score where the recurring main melody is happy and carefree for the male protagonist and is alternated with romantic orchestral phrases. For Il Vizio Di Famiglia, unfortunately a country style song is missing, which is played during the scene where Edwige Fenech is on a motorcycle (but it could also be archive material). The composer created spirited and funny background music played by an orchestra and synthesizer, which is alternated with lounge music with sounds of pop music as well as the mysterious moods of giallo films. Gegè Bellavita: Riz Ortolani composed "Nun me scuccià," the brilliant and funky main theme sung in Neapolitan by the protagonist Flavio Bucci, which describes Gegè's laziness to work and his passion for women. This pleasant motif returns in an instrumental version, alternating with a recurring upbeat tarantella in a pop version, and a romantic love theme. This is another CD that enriches the discography of one of the most beloved composers in the world.
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5CD
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SPDM 022CD
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$40.00
PREORDER
RELEASE DATE: 1/24/2025
Five OSTs from Carlo Franci, Francesco De Masi, Roberto Nicolosi, Marcello Giombini, and Bruno Canfora. Il Gladiatore Invincibile: Carlo Franci, also known under the pseudonym Francis Clark, studied in Rome with Goffredo Petrassi. He is an orchestra conductor and a composer for theatre productions. For this film the composer wrote a symphonic score to describe the heroic endeavors, where dramatic and violent passages for the battle scenes are alternated with a romantic and nostalgic love theme which is gloriously reprised in the finale. For the realization of this CD, Digitmovies used the mono master tapes of the recording session which took place over half a century ago and have been kept in good condition until now. Gli Schiavi Più Forti Del Mondo: Francesco De Masi composed and conducted a symphonic OST with heroic tones alternating with robust action music and a sweet love theme along with cheerful and comical passages. For this CD, Digitmovies used the master tape that half a century ago was assembled for the release of the original LP, and have added new previously unreleased material, including a rare stereo mix which has been properly restored and remastered. A dutiful homage to artistic music by the unforgettable Maestro Francesco De Masi. La Regina Delle Amazzoni: This CD was made possible thanks to the mono master tapes from the recording session which were kept in excellent condition. Robert Nicolosi composed and directed a symphonic OST containing all the classical elements of Peplum, but with an interesting idea. The main score is modern (for that time period), but there are hints of blues, jazz and swing, which the composer dances between again and again. This creates a soundtrack with two dimensions. Le Sette Fatiche Di Ali' Babà: For this CD Digitmovies was able to use the mono master tapes of the original recording. The author composed a recurring main score in a Middle Eastern Arabian Nights style, alternating between suspenseful music and music with violent and dramatic motifs for the battle scenes. Giombini transforms the main melody into a delicate and exotic love theme, contrasting with the exciting action scenes. La Regina Dei Tartari: For this CD, Digitmovies used every note contained in the mono master tapes of the original recording session. Maestro Canfora, for this particular OST removed the strings and used only the brass, woodwind and percussion. These create atmospheres with an ancient flavor, between heroic and mysterious, alternating with vigorous music for battle, and the recurring presence of a delicate love theme.
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WRWTFWW 102LP
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$34.00
PREORDER
RELEASE DATE: 1/17/2025
WRWTFWW Records presents the first ever vinyl release for the outstanding soundtrack of 1999 Japanese action-political-thriller anime Jin-Roh: The Wolf Brigade by Hajime Mizoguchi. The epic full-length album is available as a limited-edition LP cut at Emil Berliner Studios and housed in a heavyweight 350gsm sleeve. Legendary animation film Jin-Roh was penned by Palme d'Or and Leone d'Oro award winning filmmaker, television director and writer Mamoru Oshii whose filmography includes Ghost in the Shell, Patlabor 2: The Movie, and Angel's Egg -- critically acclaimed works praised worldwide, notably by luminaries such as James Cameron, Steven Spielberg, and The Wachowskis. The film was directed by leading studio Production I.G. affiliate Hiroyuki Okiura. The film's score, courtesy of famed anime and TV score composer, cellist and arranger Hajime Mizoguchi, evokes the dystopian world in which Jin-Roh takes place and captures the Little Red Riding Hood theme that carries the story -- a dark, atmospheric, and immensely emotional soundscape that takes you on a grand and immersive journey and stays with you forever. It blends classical, orchestrated ambient, and poignant melodies carried by ominous strings. This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap, and Violent Cop.
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LPF 097LP
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$35.50
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RELEASE DATE: 1/17/2025
"Almost 20 years ago I was a cinema producer overloaded with engagements. A very adventurous period of my life, always taking off for a different cinematic set, leaving behind a trail of adrenaline which was giving me a lot, but the time for a pause came. I needed some time for myself and music, as it happened many times in my life, helped me. In that moment of great introspection, I had the idea of this album dedicated to the songs which faithfully accompanied me, for all my life, a tribute to my favorite cues performed through my emotional filter. Tenco, Gaber, Armstrong, Baglioni, De André, Paoli, Brel, Battisti, and Guido & Maurizio. I spent many nights in studio in order to give life to this selection to which now I'm really fond of, through it I relive a life of musical emotions with a first-person interpretation. I still remember the sound of silence, nighttime when going back home from the studio, full of emotions. My emotions, nothing more than feelings, for a dreamer." --Guido De Angelis
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LIFE 057LP
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$22.50
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RELEASE DATE: 1/17/2025
More Japanese lysergic madness! The 1972 soundtrack for Shuji Terayama's visionary movie of the same name contains all the elements necessary to reach composer and theatre producer J.A. Caesar's intended pleasure-centers. Disturbing, but in the end truly innovative, this soundtrack is as certified gateway to the underworld in the vein of classic by Faust, Cosmic Jokers, or early Amon Düül.
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2LP
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LPDM 034LP
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$55.50
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RELEASE DATE: 1/17/2025
Digitmovies presents Bruno Nicolai's The Case Of The Scorpion's Tail (aka La coda dello scorpione), The Case Of The Bloody Iris (aka Perché quelle strane gocce di sangue sul corpo di Jennifer?), All The Colors Of The Dark (aka Tutti i colori del buio), and Your Vice Is A Locked Room And Only I Have The Key (aka Il tuo vizio è una stanza chiusa e solo io ne ho la chiave) OSTs on LP. This limited-edition double vinyl record presents a selection of the best themes of the four OSTs, one for each side of the records. The Case Of The Scorpion's Tail: Maestro Bruno Nicolai knew how to put in music the macabre homicides of that event, writing a dissonant music soaked with elements of avant-garde and jazz. The soundtrack is enriched by two romantic yet nostalgic themes, as background of the love story of the protagonists. For this publication Digitmovies used every take found in the original masters. Your Vice Is A Locked Room And Only I Have A Key: Maestro Bruno Nicolai wrote a monothematic score based on variations of a nostalgic and romantic classical adagio for strings and harpsichord. All the horrifying aspects of this story are described through a series of dramatic and atonal themes, alternated to the classic adagio. All The Colors Of The Dark: Bruno Nicolai wrote and directed one of his best soundtracks for thriller genre. The soundtrack is mainly based on orchestral dark passages, sometimes rhythmic, sometimes atmospheric, which give a great sense of constant stress. Other than the romantic love theme, the soundtrack includes another very important theme: that for the "Sabba" in coral version and lounge-psychedelic version with Beat arrangements, performed by Alessandroni's Modern Cantors. It also contains the sitar execution of the great Alessandro Alessandroni. The Case Of The Bloody Iris: Bruno Nicolai wrote a romantic theme for Jennifer, which is re-taken in various versions during the whole soundtrack. The main theme has dark and dissonant strings passages, which make the listener feel tense and distressed.
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VIERNULV 008LP
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Through emotive ambient textures, granular synths, and field recordings, Rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation. This album features the reimagined score Rousay wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century. Known as a singular artist who challenges conventions in experimental and ambient music forms, Rousay crafted the score in her home studio immediately after moving to LA over the course of 2023. The inaugural performance, a screening of the film accompanied by Rousay performing the score live, took place at Videodroom/Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film's atmosphere while standing on its own as a distinct sonic work. The Bloody Lady is released via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene. The record comes with an extensive booklet including liner notes.
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LP
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LPF 096LP
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Walter Rizzati's soundtrack to Italo Zingarelli's Io sto con gli ippopotami ("I'm for the Hippopotamus"). This album, dedicated to the memory of Italo Zingarelli, is presented on 180-gram colored vinyl. Mastering by Enrico De Gemini, graphic layout by Daniele De Gemini.
"Shot in Africa in the late '70s, Io sto con gli ippopotami (aka "I'm for the Hippopotamus"), is a movie that in my imagination is just like Italo: humorously menacing and bulky, protective, awesome and sweet, a description that also fits the mascot of this delicious film, the hippopotamus. In this movie we feel the presence of its producer/director's poetry, often handed down with great passion and cheerfulness through his cinema. It's a simple message of love for nature, respect for the weaker and the duty to intervene when they are subjected to abuse. Everything is presented with disarming simplicity, as powerful as it is beautiful. You must confess that you were moved when Terence Hill, toward the end of the movie, delights himself with his friend-of-a-thousand- adventures Bud Spencer by watching the flight of the animals from Mr. Ormond's boat to the wonderful notes of 'Freedom,' where [the] harmonica together with the melody infuses the scene with an almost maternal sweetness. Well, we are all in debt to this big guy for his kind message and the clean, sparkling, soft and amusing sincerity that dwells there, among the lines of his cinema, apparently devoted to simple entertainment but so wonderfully deep and full of feeling." -Beat Records
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SONIG 094LP
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In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog's fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band's favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London's Southbank Center knowing that Herzog would have never approved a new score. Filmed in 1971, Fata Morgana is perhaps not one of Herzog's best-known works, but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile. The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place -- in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle. The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player for the final section of the film. Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot -- causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed.
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CD
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WWSCD 084CD
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$16.00
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RELEASE DATE: 11/22/2024
Wewantsounds presents the sought-after soundtrack for cult 1980 French film Clara Et Les Chics Types, featuring Isabelle Adjani, Daniel Auteuil, and the Splendid troupe actors. The jazz-funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc, has never been reissued since 1980. Remastered from the original master tapes, the release includes two never-released bonus tracks and a four-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion. A gifted singer songwriter, Jonasz had had a few hits in the '70s and had also teamed up with Gabriel Yared to write a couple of albums for Francoise Hardy, Musique Saoule (1978) and Gin Tonic (1979). This was the background that saw the film Clara Et Les Chics Types come together. The brainchild of famed screenwriter Jean-Loup Dabadie who had risen to fame screenwriting smash hits for directors Claude Sautet and Yves Robert in the '70s, the bittersweet comedy followed a group of friends who have an amateur group dealing with the vicissitudes of everyday life at the dawn of the '80s. For the soundtrack, Michel Jonasz was hired and gathered some of the best session musicians including drummer Manu Katché (in one of his first sessions) and bassist Sylvin Marc (who had recorded a couple of albums for Jef Gilson's Palm label in the early '70s). Together they weaved a mainly instrumental blend of jazz funk, reggae, and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD. Teaming up with the artist and Warner Music France, Wewantsounds has dug out the original master tapes to reissue the album including two bonus tracks. The audio has been remastered by Colorsound in Paris.
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CD
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BCM 9619CD
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Beat Records presents this reissue on CD of the original soundtrack by Nora Orlandi for the classic Western Johnny Yuma, directed in 1966 by Romolo Guerrieri. At the time of the film's release, RCA released only a 45-rpm single with the two mono tracks "Johnny Yuma" and "That Silent Man," sung by The Wilder Brothers (John Ireson and Wayn Parham). In 1968, another single was released in Japan (where the film was a huge success) on the Victor SS-1741 label, featuring the song performed by The Wilder Brothers and the instrumental version on the B-side. This CD is a reissue of the long out-of-print CD issued in 2009. In addition to the tracks mixed in stereo, this CD contains the entire soundtrack taken from the mono masters of the original sessions, for a total duration of 74:49. Nora Orlandi composed an epic and dramatic score, conducted by the well-known Robby Poitevin. The main theme, "Johnny Yuma' (a country ballad sung by The Wilder Brothers), is introduced in the opening credits and reprised in the movie. The Wilder Brothers also perform the heroic song "That Silent Man." Exceptional soloists on this beautiful soundtrack include 4+4 by Nora Orlandi and the magnificent harmonica of Franco De Gemini. Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.
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WWSLP 084LP
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$31.50
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RELEASE DATE: 11/22/2024
LP version. Wewantsounds presents the sought-after soundtrack for cult 1980 French film Clara Et Les Chics Types, featuring Isabelle Adjani, Daniel Auteuil, and the Splendid troupe actors. The jazz-funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc, has never been reissued since 1980. Remastered from the original master tapes, the release includes two never-released bonus tracks and a four-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion. A gifted singer songwriter, Jonasz had had a few hits in the '70s and had also teamed up with Gabriel Yared to write a couple of albums for Francoise Hardy, Musique Saoule (1978) and Gin Tonic (1979). This was the background that saw the film Clara Et Les Chics Types come together. The brainchild of famed screenwriter Jean-Loup Dabadie who had risen to fame screenwriting smash hits for directors Claude Sautet and Yves Robert in the '70s, the bittersweet comedy followed a group of friends who have an amateur group dealing with the vicissitudes of everyday life at the dawn of the '80s. For the soundtrack, Michel Jonasz was hired and gathered some of the best session musicians including drummer Manu Katché (in one of his first sessions) and bassist Sylvin Marc (who had recorded a couple of albums for Jef Gilson's Palm label in the early '70s). Together they weaved a mainly instrumental blend of jazz funk, reggae, and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD. Teaming up with the artist and Warner Music France, Wewantsounds has dug out the original master tapes to reissue the album including two bonus tracks. The audio has been remastered by Colorsound in Paris.
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V 28021LP
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The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.
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WHYT 086LP
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Artist, composer and producer James William Blades' score Pare De Sufrir is presented via AD 93. Pare De Sufrir (translating to 'End of Suffering') is the official soundtrack to A.G Rojas' film of the same title. Spanish-born, Southern California-raised filmmaker AG Rojas is known for creating videos and working with the likes of Jamie xx, Gil Scott Heron, Kamasi Washington, Spiritualized, and Mitski. Rojas' sensitive eye and subjectivity has brought him from the world of music videos to creating his first independent film: a 48-minute featurette following three people as they navigate the liminal space between life and the afterlife in an attempt to heal themselves and each other. Rojas reached out to Blades after coming across his score for Keeping Time (dir. Darol Olu Kae). An intimate and unusual process unfolded. Rojas explained to Blades the personal narrative of the film, the two sharing unfurling conversations on the nature of loss and the human spirit. But Blades did not watch the film and instead worked on instinct to build out a conception of how the score would unfold, shaping its operatic, textural and granular tone. Blades went on to record the score in full, with orchestra and choir, without going back to Rojas for feedback, aware that he was taking a complete risk. The score's pull is reflective of the process of grief itself, how its moods and memories oscillate up and down into the past and lost futures, Blades hitting all those spaces with diverse and stretching notes. The piano holds the memories of Blades and Rojas' grandmothers, who both had out-of-tune pianos sitting in an empty room. The Silogo-De-Oro choir sing throughout, reminiscent of the broken phonetics of grief, the build-up and release of tension and the inability to articulate complete sound or words. The harmony stabilizes and then becomes distant, taking the griever away from the lushness of life and into the realms of loss, death and dream-like realities, as mirrored in Rojas' layered vignettes. As the score closes, the harmonies become richer and fuller, marking a return to life. Understanding the power of sound to both respond to and drive narrative, Blades' score weaves together field recordings, half-remembered conversations, choral movements, string arrangements and electronic fragments into a nuanced and evocative whole.
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LP
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SR 562LP
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The first ever publication of the original soundtrack composed by Alain Pierre for the Belgian cult film Vase de noces, directed by Thierry Zeno in 1974. Limited edition of 400 copies with screen-printed sleeve. Vase de Noces wasn't released in Belgium. The only distribution Thierry's films might have accessed here was the "Swedish distribution," a code for distribution around adult movie theaters. Films by major directors such as Bergman or Polanski were released this way. In memory of Alain Pierre (1948-2024).
"Vase de noces was made with very little money. Thierry used 16mm reversal film, utilizing the ends of reels he obtained from friends who worked as TV cameramen. Similarly, I salvaged magnetic tape from my workplace, the Équipe sound studio. Film professionals looked down on him because he filmed everything on his own, without relying on technicians. The remarks became even more disparaging when they saw the quality of the result. Thierry shot this film gradually, just getting by, progressing intermittently, but he had a precise idea and memory of the framing and sequences. He really did a great job, as if he had the entire edit in mind from the start. The first shot had to be the right one. He showed me the film sequence by sequence when the editing was over. This was how he worked, and that's why it took him so long getting the right splices, the right light, etc. Thierry handled the framing and the lighting himself. His black-and-white work is unique; he operated within constraints, which is how creativity often flourishes. Thierry had a story in mind, and in the end, he achieved exactly what he wanted. The performance of actor Dominique Garny, for instance, and his aptitude -- it helped a lot. They spent hours together in the cold, in the mud. As the shooting progressed, I suggested samples of sounds obtained from my machine. This was what he wanted: bottle sounds. There isn't a single direct sound in the film -- it's all dubbed. I never distinguished music from the rest of the soundtrack. The idea of a 'sound object' never left me, and I've always kept that direction in mind when composing. One day, Thierry stopped by while I was working on a documentary about Saint Augustine, for which I was using a tune by Monteverdi. He told me about a certain sequence from his film, and I had the feeling that this music would work wonderfully with that sequence if I slowed it down to the extreme, to the point that it would be unrecognizable. Very rudimentary special effects. I had manipulated music sung by castrati this way for O Sidarta (FKR 107LP), and he liked it. My suggestion was accepted." -- Alain Pierre
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LP
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TSC 022LP
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$36.00
PREORDER
RELEASE DATE: 11/8/2024
"A Ballet Through The Mud is presented in a pink and purple mixed color pressing housed in a gatefold jacket featuring photos of a ballet performance with the Colorado Symphony and a 12-page graphic insert outlining the narrative of the ballet. A Ballet Through Mud is a poignant coming-of-age story that delves into the complexities of love, the loss of innocence, the bonds of friendship, and personal growth. Drawing inspiration from RZA's own lyrics and the candid memories he penned in his teenage notebooks, the narrative also embodies his profound philosophical journey influenced by Chan Buddhism. As RZA eloquently states, 'out of the mud grows the lotus.'"
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2LP
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RBL 094LP
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"The Ultimate Anthology of Goblin and Claudio Simonetti covers 45 years of this talented musician's work. contains the iconic soundtracks of horror films by Dario Argento, George Romero, Lamberto Bava, Ruggero Deodato, Sergio Martino, as well as some rare and unreleased songs. Double red vinyls with deluxe gatefold cover plus insert. Limited 666 copies worldwide."
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LP
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RBL 088-5LP
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"Claudio Simonetti's Goblin celebrates a new prog-rock version of this famous soundtrack. The terrifying and atmospheric experience of Dario Argento's films comes from the merging of gorgeously crafted visuals with a soul tingling auditory experience. Once heard, Goblin's scores are never quite forgotten. Suspiria is no exception, characterized by its synth heavy sound, carillons, yells, and sighs. Suspiria is perhaps Argento's most celebrated film and a classic of horror subgenre in its own right. A surreal masterpiece from Dario Argento with a pounding score from cult prog-rockers Goblin, Suspiria will leave you battered and breathless! Deluxe limited pink vinyl. Includes insert and two large postcards."
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CD
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PL 184CD
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$25.00
PREORDER
RELEASE DATE: 11/1/2024
Jim Coleman's NOW WAVE - Glowing: Beth B Exhibition features collected tracks that represent the sonic component of the "NOW WAVE - Glowing" exhibition by Beth B. This 2024 exhibition appeared at Silent Green in Berlin, featuring several live performances. Coleman collaborated with a stellar group of musicians and artists: Annie Bandez (Little Annie), Robert O. Leaver (This Wilderness, Birdthrower), Phil Puleo (Swans, Cop Shoot Cop), Jared Louche, Kirsten McCord, Paul Wallfisch, Vincent Dubuis, Nick Flynn, Evelyn Frantti, No Anger, Louise Hoffmeister, and Bliss Blood. The fusion of text, music, filmic image material, and performance create an immersive experience that is captivating and entertaining, but also confronts existential questions of human coexistence. The universal stories of the artists confront perceptions and assumptions concerning heartache, disability, mental illness, and addiction alongside the visceral music by Jim Coleman. Voicing the unheard and seeing the unseen are themes that have run through Beth B's films, art, and installation work with an eye to creating dialogue, community, and a place for self-knowledge and acceptance.
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LP
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ITR 394LP
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"The Lost Record is the underground rock and roll exploitation sci-fi film of this time. Starring Pauline Jorry and featuring appearances and contributions from Henry Rollins, Emmett Kelly, Michelle Mae, Paul Zone, Howie Pyro, Kid Congo, Crush, Automatic Band, and scores of other underground notables, The Lost Record -- directed and produced by Ian F. Svenonius and Alexandra Cabral -- is a film set in a murky indeterminate future/past world where one record, The #1 Record, holds sway over society. In this world The #1 Record is unavoidable and ubiquitous; pumped out nonstop on the airwaves, intercom, and television with its irresistible and infectious message of totalitarian consumer control. The status quo is challenged when a protagonist -- played by Pauline Jorry -- a worker on an art assembly line, stumbles on another record at a junk-shop which is neglected, lost, and unplayed. Called The Lost Record, it suggests another way to live; another set of values. Enchanted, she begins to play it for others, much to the consternation of the authorities. Can/will it challenge the #1 Record? And what will happen if it succeeds? Based conceptually on the Escape-ism song of the same name, the soundtrack features a beautiful original score by Alex Minoff (of Golden, Extra Golden and Weird War fame) plus music by Emmett Kelly, Escape-ism, The Make Up, plus sound blurbs from this singularly poignant, funny, and affecting film which has won citations and notices at Belgrade's Kinoskop festival, Indie Lisboa, and the Chicago Underground Film Festival among others."
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